It’s almost trite to mention the indelible mark that saxophonist Charlie Parker left on the world of culture at large, and more specifically with the practitioners of jazz, the music that he redefined. In the years since his death, his music has been covered incessantly, which in many ways, has robbed the music of its essential vitality. One solution to this ubiquitous problem lies in the stunning invention of the NYC based quartet Walking Distance and their second album, Freebird, which features the resplendent piano playing of Jason Moran on a number of tracks.
As the title suggests, Freebird almost literally unbinds Parker’s repertoire from the dregs of boring, staid covers of his work and into something modern, contemporary, humorous and ebulliently bursting with vitality; so imaginative that one would be hard pressed to identify the source of inspiration in the first place. On Freebird, the listener is treated to a set of music, which covers a tremendous amount of musical territory, all with aplomb, irreverence and a distinctive group sound.
The quartet – comprised of alto saxophonist Caleb Curtis, tenor saxophonist/clarinetist Kenny Pexton, bassist Adam Coté, and drummer Shawn Baltazor – released their debut, Neighborhood, in 2015, which was acclaimed in Downbeat, AllAboutJazz and elsewhere. On that album, Walking Distance happened by chance upon the concept that would grow into Freebird. By displacing just one of the melodic phrases of Parker’s “Dewey Square,” their original interpretation “Dewey Circle” came alive and this concept was born. Freebird is the full realization of this idea.
Baltazor elaborates: “Each song is strictly based on a composition, or multiple compositions, by Charlie Parker. Literally. We would find a rule, and stick with it until it presented musical challenges that we’d have to figure out, rehearse them to an almost hypnotic degree. Then, not only did we have a new completely fresh sounding idea that was unmistakably be-bop, in its own deconstructed way, but through each process we developed a whole new concept for composition and improvisation in general.”
This relentless process of rehearsal – refining their group sound and approach, and redefining their source material – are both on full display on Freebird and, with the addition of Moran, the group is elevated to a higher plane. Baltzor explains: “Moran embodies so much of what we love about Charlie Parker: a sort of super-hip irreverence done at such a high level that no one can say shit.” Curtis expands upon that, saying: “Not only did he bring that fresh perspective, but he seamlessly integrated himself into the musical fabric of the band, surprising and inspiring us along the way. It was an incredible creative experience to have him on Freebird.”
Jason Moran – piano
